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At first glance, an M/E panel in its default operating mode (Mix) is scarcely distinguishable from the main Switcher. However, each of TriCaster’s M/Es actually offers two different operating modes:
1. Mix (the default mode): A secondary switcher layout, with controls and options that are very similar to the main Switcher.
2. Effect mode: The M/E is configured for effects, including virtual set operations.
Autoplay and the M/E:
One notable point regarding an M/E in Mix mode and the main Switcher involves the Autoplay feature (see Section 11.2.3).
To avoid undesirable consequences for Media Player content aired on the all-important main Program output, M/E’s in Mix mode trigger Autoplay operations within the same M/E only.
As well, a switch in the TriCaster options menu toggles AutoPlay’s triggering of ‘Auto out’ transitions.
The M/E’s mode is set using a menu above the effect icon in the central control group (Figure 221) of the panel. For the most part, you
will initially see very little difference in the M/E panel when you change modes.
In either Mix or Effect mode you will observe two source button rows at left labeled input A and B (Figure 222) by default.
At right are up to four Key control groups, depending on which TriCaster model you are using. In most respects these are identical in appearance and practice to the DSK controls located in the main Switcher (see Section 9.3.1).
Even the central control group mimics the main Switcher, with its Transition
controls and options, T-bar and delegate buttons and so on.
14.2.1 MIX MODE Really, an M/E in Mix mode is a switcher:
Input rows labeled A and B behave just like the main Switcher’s Program
and Preview rows
Transition controls work in the same manner
One or more Key channels stand-in for DSKs
M/E output can even be routed directly to one of TriCaster’s two main outputs (as well as the IsoCorder section).
Careful scrutiny reveals some (outwardly) subtle differences in the controls when you change to Effect mode (Figure 223):
The Take and Auto buttons normally located beneath the T-bar and Transition icon are hidden.
A Zoom control button replaces the BKGD
delegate.
The current Transition icon is replaced by the default Effect icon.
As required, as many as 4 input rows may be shown in Effect mode.
Position controls appear for up to four input layers (A, B, C, and D) as supported by the effect, and depending on which TriCaster model is in use).
Let’s consider these reasons behind for these changes in the interface. An M/E in Effect mode allows preparation of a composite of two or more video sources, whether for direct output, or as a source for the main Switcher, or as an input for other downstream channels (for TriCaster 8000, also including other M/Es).
Even in Mix mode, an M/E provides access to effects – including Position and transition effects (including Animation Stores). In Effect mode, however, an M/E asserts its realtime compositing and effects prowess more aggressively.
14.2.3 INPUT POSITION CONTROLS
FIGURE 224
Position controls for all appear to the left of all input rows. Click this button to open the input’s Position panel. These controls replicate those discussed previously, under the sub- heading DSK Positioning in Section 9.3.1.
To begin with, Effect mode supports up to four primary input layers (TriCaster 8000). The M/E doesn’t transition between A and B, or C and D, though, in Effect mode. Instead, effects of various types are applied to the selected video inputs. Let’s consider the effects in the Default group as examples:
Click the Effect button (if you haven’t already), and then click the label above the thumbnail icon to open the Media Browser. Select the LiveSet location at left, and use the scrollbar in the File Pane at right to locate the effect group labeled Default. With one
FIGURE 225
exception (Advanced Tracking: TriCaster 8000 only), these effects are straightforward compositing effects involving multiple video layers. Effect output (i.e., the background prior to Key overlays) is simply the sum of all input layers.
If the source assigned to input A is fully opaque, any content in the layers below is hidden. Or if input A is at least partially transparent, the source assigned to input B is blended into the M/E background layer, and so on.
Hint: Don’t overlook the fact that the input Position controls allow you to create more elaborate compositions even with these simple compositing effects.
The output of any active Key layers is then added to the effect output before passing the combined result onward to the final M/E output.
ADVANCED TRACKER (TRICASTER 8000)
As we mentioned, effects can be ‘simple’ compositing effects, like most of the Default group, or more advanced. Before considering TriCaster’s virtual set system (a.k.a, LiveSet™), let’s talk about some of the other effect types.
Effects can vary widely in their types, from relatively simple utilities effects to image processing or advanced compositing effects.
For example, we mentioned that one member of the Default group is unique.
The Advanced Tracking effect takes three video sources as input to produce a result that would otherwise require the use of an additional M/E.
FIGURE 226
Set up this effect as follows:
1. Click the label above the Effect icon, and use the Media Browser to select the Advanced Tracking effect from the Default group.
2. Add the clip named Kiki Track Rectangle.mov (NewTek location, Green Screen group) to the playlist for DDR 1.
3. Enable Single and Loop modes for DDR 1.
4. Add the clip named “Bumper Cars.mov” (Samples group) to DDR 2, set it to
Single and Loop as well.
5. Add an attractive full frame graphic to the Graphics 1 player.
6. Select M/E 1 on the main Switcher’s Program row, to make it easy to view the result of the following steps.
FIGURE 227 | 7. In the M/E 1 tab, select DDR 1 on the input A row. 8. Select DDR 2 as input B. 9. Select GFX 1 as input C. 10. Double-click the monitor for DDR 1 to open its Input Configuration panel. |
Continue to configure both LiveMatte and the Tracker for the video clip in DDR 1:
11. In the LiveMatte tab, click Reset to update the keyer settings to their defaults, and enable the LiveMatte switch at upper-left.
12. Use the Scrub bar under the playlist in DDR 1 to advance through the clip until the orange card is visible in the frame.
13. Switch to the Tracker tab, click the Color picker (eyedropper) and keep the mouse button held down to assign the card’s orange color to the Tracker for DDR 1.
14. Boost the Tolerance setting to 34%.
15. Press Play for both DDRs.
Let’s take a moment to review our progress, before completing setup steps:
On the Program monitor, you should see the talent clip overlaid on the image from GFX 1 (LiveMatte is turning the green pixels in the DDR 1 clip transparent). You’ll also see imagery from DDR 2 displayed wherever the (originally) orange card appears in the frame.
What’s happening is that the Advanced Tracking effect is applying the values from the (DDR 1) Tracker for a secondary iteration of LiveMatte. Our LiveMatte settings cut away the green, revealing the C layer behind. Afterward, the orange color range is also keyed out, revealing the B source through the transparent region.
Up to this point, the effect takes advantage of the Tracker color values, applying them as a secondary keyer – but we haven’t yet done anything with the actual motion data the Tracker is supplying to TriCaster. Let’s do so now.
16. Click the Position button for input B to open the Position Panel for that layer.
17. Select DDR 1 in the From source menu.
18. Enable Follow Tracker (Figure 228).
The result on your Program monitor should look much like Figure 229; full motion video appears wherever the orange card appears in the foreground clip. This is the standard setup for the Advanced Tracking effect, though it’s possible to use it in different ways too.
Further Notes: Advanced Tracker 2 provides much improved compositing. (The original effect is provided for legacy purposes, but might also produce a better result in rare cases where a source has embedded transparency). Among other benefits, the newer effect performs spill supression at the edges of the tracked region. Using the size (etc.) parameters of the tracker, the area being tracked can be made slightly larger to taste, to moderate this effect.
Now would be a good time to test the effect of the Scale, Rotation, and Aspect controls in the Tracker tab for DDR 1 (remember you can double-click the DDR 1 monitor to open this panel).
UTILITIES
Effects can take other forms as well. We’ve looked into the
Default effects group; now let’s consider Utility effects.
FIGURE 230
If you were following along in the previous section, replace the current effect in M/E 1 with the Show Alpha effect from the Utilities group.
Applying this effect immediately causes the display on the Program monitor update, showing the content of the alpha channel for input A (Input B is ignored).
The current input A source is keyed, so the effect displays black on Program out reveals wherever transparency exists in the foreground, white for full opacity, and shades of gray for in-between blends.
FIGURE 231
With this in mind, it won’t be hard to guess what Show Inverse Alpha does. In contrast, the Show Color effect in this group passes the full color output of LiveMatte prior to being multiplied by the alpha channel.
(It might seem as though this would be identical to the original source, but you may notice subtle differences. This is because of the Spill Suppression processing.)
Let’s look at another of the effects in the Utilities group, Color Correction. Replace the current effect with the Color Correction effect (again, click the Effect label above the icon to open the Media Browser).
You’ll notice that M/E 1’s output on the Program monitor is now rendered in monochromatic grayscale. Move the mouse
pointer over the effect’s icon, and click the gear button that pops up.
This opens the effect’s Shot Editor.
FIGURE 233
Across the bottom of this panel, you’ll see a bind containing 9 thumbnail icons representing the different shots (position/zoom presets) currently configured for
the effect. The current shot is bordered in blue. Clicking a shot selects it for editing. Click the Preview switch at lower left to view the effect of adjustments you make on the Program monitor.
The large Effect Preset Editor canvas is interactive. Zoom in the shot you chose, using either the nearby T-bar in the M/E panel, or the mouse-wheel.
As you do so, observe that color is progressively added to the video scene (note that it’s not necessary to open the Editor to zoom in this manner).
After zooming in, drag the mouse diagonally from upper-right to lower-left in the canvas to re-center the colored display (Figure 232). You’ll see that the M/E output is tinted as you do so.
Close the Editor pane. The effect represented by the current shot icon is active. Click the icon itself this time, rather than its ‘configure gear’. This opens the Shot Palette, which is much like the Transition Palette discussed earlier.
Click to select a different shot for this effect; you’ll see the M/E output change over time as the effect transitions from the settings represented by the original shot to those of the new one. Finally, the Make Legal effect ensures the output of an M/E is within broadcast signal tolerances.
3D
The Anaglyph (Red, Cyan) effect found in the 3D category is a special purpose tool.
The anaglyph method of displaying 3D imagery depends on stereo video inputs that are filtered and composited into a single output stream.
In turn, this combined stream resolves into 3D when viewed through special glasses with red and cyan (blue- green) filters for left and right eyes respectively.
FIGURE 234
TriCaster provide easy access to anaglyphic technology by means of the Anaglyph effect. The effect combines 2 video inputs selected in an M/E. 3D output can then be switched easily like any other source. No complex configuration steps or tricky control surface operations are required.
PHOTOSHOP BLEND
The effects in the Photoshop Blend folder apply well-known blending modes to the A layer in the M/E as these are blend with the B layer.
The resulting compositions can serve many purposes, such as adding animated ‘bokeh’ style overlays using DDR clips or adding interest to still overlays such as vignettes or titles.
FIGURE 235
We’ve considered TriCaster’s Default and Utility effects. Let’s move on to a more glamorous species, the virtual set, presented in TriCaster as LiveSet™ effects.
LiveSet is one of TriCaster’s most powerful tools, and can dramatically enhance a production.
With it you can achieve the look of a large, sophisticated studio setting (Figure 237) within a very small studio space (Figure 236), all without the need for external equipment.
Broadly speaking, setup of a LiveSet effect is much like the Default effects previously considered (see Default Effects, Section 14.2.2). A typical LiveSet consists of a greenscreen shot (usually input A) with LiveMatte applied composited into a virtual set. LiveSet adds the foreground and background for the scene, and additional video inputs may add to the effect in various ways.
Hint: Most virtual sets require LiveMatte settings to be applied to Input A. Other inputs may also require keying, depending on the design of the virtual set.
To select a LiveSet, click the label above the effect icon in the M/E to open the Media Browser (Section 11.2.2).
The Location List of the Media Browser lists any installed LiveSet groups under the heading “LiveSets”. Select an entry beneath to show thumbnail icons in the Browser’s File Pane (Figure 238 shows the content of the NewTek location under the LiveSets heading).
INPUT POSITION
We discussed Position controls for M/E video inputs previously (Section 14.2.3). It’s worth adding here that Position options do affect the scale, rotation and position for LiveSet video inputs.
You can often use Position controls to achieve a ‘good fit’ and natural appearance of talent or another source appearing in your virtual sets (greatly reducing the need to fuss with physical camera positions).
FIGURE 239
Hint: The Align group of LiveSet effects is provided especially to make it easier for you to adjust cameras and position talent on your physical set to suit the design of typical virtual sets supplied with TriCaster.
SHOTS AND ANIMATION
In LiveSet terminology, shots are different ‘virtual camera’ position presets, represented by the eight icons in the Shot Palette. Click the effect icon to show this.
Making a selection in the palette begins the animated change from the current shot to the new one, over the duration set in the numeric control below the effect icon.
Note: Some LiveSets (e.g., double-box sets) do not support zooming and panning. In such cases, Shot selection and T-bar actions may be inoperative.
The Duration control works like similar numeric fields in TriCaster’s Live Desktop: drag to adjust the value, click to type directly into the field using the keyboard, or press (keyboard) Shift and double-click to restore the default value. The drop-down Duration menu offers several convenient presets as well as a Cut option.
Hint: The maximum duration for an animated zoom is 2 minutes.
EFFECT PRESET EDITOR
©When the mouse pointer moves over a shot icon (whether in the Shot Palette or the icon for the current effect), a gear button is shown (Figure 240). As we observed when discussing more
mundane effects, you can click this gear to open the Effect Preset Editor (a.k.a., the ‘Shot Editor’).
While this tool provides control for some other effects too, its principle purpose is to allow you to create custom shots for virtual sets. In turn, this permits you to perform great looking animated camera moves that center on various points of interest in the frame.
FIGURE 241
Operations in Effect Preset Editor are very easy to perform. The current shot is bordered in blue in the selector across the bottom of the pane. Simply click to choose another shot to modify.
To change the zoom level of the LiveSet shown on the large canvas, roll your mouse wheel; or drag the M/E’s T-bar; or hold down the right mouse button while dragging vertically. To pan the preview on the canvas, left-click, hold and drag.
FIGURE 242
THE T-BAR
The Zoom T-bar is located beside the Effect icon. Dragging it vertically adjusts the virtual ‘camera distance’ for the active LiveSet, between 0-100%.
When you click a Zoom Preset, the T-bar updates to the zoom level of the new shot. Conversely though, adjusting the T-bar does not update the current value for a Preset. (When the current T-bar position corresponds to the zoom value in the shot, its icon shows a blue border.)
It’s important to realize that the Key (and FTB) Delegate buttons continue to serve their normal purpose in Effect mode. That is, they enable you to perform an Auto affecting the associated channel(s); they do not perform a zoom on these layers. Only the Background layer (which includes the virtual set) zooms during an Auto operation.
A special variant of TriCaster’s LiveSets are referred to as ‘holographic’. These effects can be amazingly lifelike and convincing, and are relatively easy to create.
FIGURE 243
Holographic LiveSet effects are loaded into an M/E in the same manner as any other effect.
Simply move the cursor over the effect name (below the thumbnail icon for the current effect), and click the + sign (Add Media button) that appears to open TriCaster’s Media Browser, and choose the effect you wish to load (several examples are included with your system).
Adjust the current view for holographic LiveSets in similar fashion to standard effects – that is, using the Effect Preset Editor (Figure 245) discussed in Section 14.2.5.
FIGURE 244
Preset adjustments made using the mouse and canvas vary slightly, however, for holographic effects.
For a standard LiveSet effect, dragging the mouse left, right, up or down changes the camera position in the frame; the mouse-wheel zooms in or out. In a holographic LiveSet, mouse-wheel operations are the same, zooming in or out. However dragging the mouse laterally or vertically on the canvas modifies camera rotation, rather than position.
Hint: Holographic effects, like standard LiveSets, are compiled using the optional Virtual Set Editor application. A demo version of this utility is installed on your TriCaster, and its instruction manual can be located in Startup>Help.
